Flashback (narrative)

Flashback (also called analepsis, plural analepses) is an rejected scene that takes the narrative back in time from the current point the story has reached. Flashbacks are often used to recount events that happened before the storys primary sequence of events or to fill in crucial backstory. A character origin flashback shows key events early in a character's development. In the opposite direction, a flashforward (or prolepsis) reveals events that will occur in the future. The technique is used to create suspense in a story, or develop a character. In literature, internal analepsis is a flashback to an earlier point in the narrative; external analepsis is a flashback to before the narrative started. In literature, Racconto and flashback mean almost the same thing. However, the Racconto does not take the narrative back in time so suddenly, and it is longer and more detailed than a flashback. In movies and television, several camera techniques and special effects have evolved to alert the viewer that the action shown is from the past; for example, the edges of the picture may be deliberately blurred, photography may be jarring or choppy, or unusual coloration or sepia tone, or monochrome when most of the story is in full color, may be used. Examples and Observations:

"For a flashback to succeed as part of your beginning, it should meet three criteria. "First, it should follow a strong opening scene, one that roots us firmly in your character's present. . . . "In addition, the second-scene flashback should bear some clear relation to the first scene we've just witnessed. . . . "Finally, don't let your readers get lost in time. Indicate clearly how much earlier the flashback scene took place." (Nancy Kress, Beginnings, Middles & Ends. Writer's Digest Books, 1999)

"Backstory--that's been a key element in the brilliance of Lost. Flashbacks are usually deadly--but the writers have used them here as the best novelists do. We only get a flashback that is (a) interesting in and of itself and (b) pertinent to the present action, so that we don't resent the interruptions." (Orson Scott Card, "Introduction: What Is Lost Good For?" Getting Lost: Survival, Baggage, and Starting Over in J.J. Abrams' Lost, ed. by O.S. Card. BenBella, 2006)

-"While the flashback is common in literary presentations--novels, drama, television programs--it need not be restricted to them. Indeed, it is very often used for expository writing. . . . "Begin a flashback as close to the conclusion, the effect, as you can. Do not 'give the plot away' in the first paragraph, but end the paragraph with a question, with a comment that the remainder of the theme will pertain to the flashback. In a short theme, your flashback should be short, certainly no longer than about one-fourth of your theme." (John McCall, How to Write Themes and Essays. Peterson's, 2003)

"In the example of Casablanca, the flashback sequence is positioned strategically in theplot to resolve a newly elaborated narrative enigma. The crucial characters of the flashback (Rick, Ilsa, and Sam) have been clearly introduced, and the film's plot has raised a question about the relationship of Rick and Ilsa--What happened to them before the film proper has begun?--that must be answered before the plot can proceed." (James Morrison, Passport to Hollywood. SUNY Press, 1998)